A while ago I reached out to the Chopin Institute in Warsaw and asked for more info and reference and they generously provided me with a highly detailed 3d scan of the death mask.Thanks to the scan I was able to fix some areas of the face, specially around the chin and forehead. Sculpted in…
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Hooray for Annik LaFarge for giving us Chasing Chopin! I was transported into another time and place, immersed in gorgeous piano music, and enthralled by the unlikely romance story. LaFarge uses Frédéric Chopin's music to reveal the history of his beloved home country of Poland, a country only in spirit during his lifetime. Plagued by tuberculosis, Chopin preferred to play in small venues and publish his music. At a time when Berlioz's bellicose works for large orchestras and opera were esteemed as the highest musical art forms, Chopin remained true to writing for the piano, an instrument still in development. On first sight, Chopin thought George Sand unattractive. Their next meeting they fell in love. Their relationship traversed from lovers to estrangement. Frédéric Chopin par Luigi Calamatta 1838, collection particulière. After every chapter I turned to the companion site WhyChopin where I listened to the music discussed in that chapter. LaFarge offers a variety of artists on instruments contemporary and from Chopin's time. I personally loved hearing the music on Chopin's preferred Pleyel pianos. I loved this book for so many reasons: because I love piano music; for learning more about author George Sand; for the insight into the history of Poland; and the portrait of the Romantic Era. I received a free ebook from the publisher through NetGalley. My review is fair and unbiased. Chasing Chopin: A Musical Journey Across Three Centuries, Four Countries, and a Half-Dozen Revolutions by Annik LaFarge Simon & Schuster Pub Date: August 11, 2020 ISBN: 9781501188718 hard cover $27.00 (USD) from the publisher The Frédéric Chopin Annik LaFarge presents here is not the melancholy, sickly, romantic figure so often portrayed. The artist she discovered is, instead, a purely independent spirit: an innovator who created a new musical language, an autodidact who became a spiritually generous, trailblazing teacher, a stalwart patriot during a time of revolution and exile. In Chasing Chopin she follows in his footsteps during the three years, 1837–1840, when he composed his iconic “Funeral March”—dum dum da dum—using its composition story to illuminate the key themes of his life: a deep attachment to his Polish homeland; his complex relationship with writer George Sand; their harrowing but consequential sojourn on Majorca; the rapidly developing technology of the piano, which enabled his unique tone and voice; social and political revolution in 1830s Paris; friendship with other artists, from the famous Eugène Delacroix to the lesser known, yet notorious in his time, Marquis de Custine. Each of these threads—musical, political, social, personal—is woven through the “Funeral March” in Chopin’s Opus 35 sonata, a melody so famous it’s known around the world even to people who know nothing about classical music. But it is not, as LaFarge discovered, the piece of music we think we know. As part of her research into Chopin’s world, then and now, LaFarge visited piano makers, monuments, churches, and archives; she talked to scholars, jazz musicians, video game makers, software developers, music teachers, theater directors, and of course dozens of pianists. The result is extraordinary: an engrossing, page-turning work of musical discovery and an artful portrayal of a man whose work and life continue to inspire artists and cultural innovators in astonishing ways. A companion website, WhyChopin, presents links to each piece of music mentioned in the book, organized by chapter in the order in which it appears, along with photos, resources, videos, and more.
